Filmed during the mounting and opening of the 1985 Biennale de Paris, this film documents conversations held during the preparatory phases of the event, featuring artists such as Georg Baselitz, Daniel Buren, Richard Deacon, Keith Haring, David Hockney, Anish Kapoor, Anselm Kiefer and Lawrence Weiner.

Networked David Lynch is a multi-disciplinary reconsideration of Lynch's oeuvre in the context of the challenges and opportunities offered by transmedia environments and networks of the 21st century. This collection builds on state-of-the-art-research concepts like video-graphic criticism and video essays to provide a fresh and important approach to any study of David Lynch's oeuvre. As such, Networked David Lynch is an attractive entry point to current media theory and recent film history, appealing to cinephiles, academics, researchers, and students. This multi-disciplinary reader provides immediate relevance to university courses focusing on modern film history and on current theory in film, television, and media studies. The scope of approaches featured in the book provides an informative basis for courses on transmedia and media convergence, sound studies, musicology, cultural studies, and American studies.

Antoinetta Angelidi directed four full-length fiction films: Idees Fixes / Dies Irae (1977), Topos (1985), The Hours: A Square Film (1995) and Thief or Reality (2001), which have been screened at international film festivals and contemporary art museums. Angelidi's work has become synonymous with Greek Experimental Cinema, while her films and her theoretical writings have been the subject of numerous film courses, critical essays and retrospectives. The inversion and juxtaposition of codes, as well as the dream-mechanism and the uncanny, comprise her main creative strategies. The complexity of cinematic heterogeneity and the narrative multiplicity of different filmic elements which characterize her work are examined in depth in this edited collection dedicated to Antoinetta Angelidi's oeuvre.

Set in Calcutta in the immediate aftermath of the Partition, Ritwik Ghatak's Nagarik (released in 1977 after Ghatak's death in 1976) chronicles the struggles of a refugee family from East Bengal as they desperately strive to survive in a metropolis which is unable to address the necessities of thousands of people pouring in from across the border. The protagonist, Ramu, like hundreds of other young men, struggles to find that elusive job; unemployment, starvation, incessant dislocation, and the yearning for stability and a home mark the lives of the refugee families in this film. Ghatak was to return to the theme in three other films that have been known as the Partition Trilogy-Meghe Dhaka Tara, Komal Gandhar, and Subarnarekha. With this translation of the screenplay of Nagarik, it will be clear that Ghatak's Partition films, those that deal directly with the lives of refugees in Calcutta, form a quartet and not a trilogy. Nagarik also represents an enticing historiographical idea, the 'what if' of Indian film history: perhaps if it had been released in 1952 when it was made, and before Pather Panchali, the accounts of Indian art cinema that have privileged the Ray film would have been different, and Ghatak may have been accepted as an important Indian auteur in his lifetime.

Richard Linklater is a popular American filmmaker who is widely celebrated for the breadth of his oeuvre. Over the past three decades, Linklater has directed more than twenty features, ranging from non-linear independent films to Hollywood genre entertainment. Despite the popularity of Linklater's rich and varied body of work--and perhaps also because of this generic diversity--he remains under-represented in critical and scholarly fora. ReFocus: The Films of Richard Linklater addresses this oversight, bringing together twelve original essays attending to Linklater as a filmmaker whose work engages with contemporary debates in American politics, gender, youth, and activism as well as significant concepts in film studies, including time and duration, rhythm, and movement. Together these essays form a dialogue on Linklater's ongoing role in contemporary American popular culture, and the impact his work has on discussions within (and beyond) film studies.

Director and screenwriter Michael Mann is the creative force behind such movies as Last of the Mohicans and Ali. Markedly reticent, Mann's personal background remains an enigma, but his disparate films contain clear and consistent messages. One of Mann's focuses is on the Information Age. He addresses the nature of modern communication, its use to manipulate and coerce, and the resultant subjugation of truth. The perils inherent in modern technology and communication stand in stark contrast to the power of symbolic and oral exchange, the trusted medium of Mann's protagonists. This critical exploration of the films of Michael Mann examines his recurring focus on the nature of modern communication and information, and their effect on the individual and society. Mann's films highlight the struggle to maintain a connection to reality in a world where information and truth are commodities manipulated and abused by forces that exert increasing control over their content and dissemination. Each chapter examines one of Mann's films - including Manhunter, The Keep, Last of the Mohicans, The Insider and Ali - in which the protagonist longs for a sense of human connection but is pitted against forces that devalue and destroy individuality. Photographs illustrate specific moments from the films, and notes, a bibliography and an index are included.

During the filming of his celebrated novel THE ENGLISH PATIENT, Michael Ondaatje became increasingly fascinated as he watched the veteran editor Walter Murch at work. THE CONVERSATIONS, which grew out of discussions between the two men, is about the craft of filmmaking and deals with every aspect of film, from the first stage of script writing to the final stage of the sound mix. Walter Murch emerged during the 1960s at the centre of a renaissance of American filmmakers which included the directors Francis Coppola, George Lucas and Fred Zinneman. He worked on a whole raft of great films including the three GODFATHER films, JULIA, AMERICAN GRAFFITI, APOCALYPSE NOW, THE UNBEARABLE LIGHTNESS OF BEING and many others. Articulate, intellectual, humorous and passionate about his craft and its devices, Murch brings his vast experience and penetrating insights to bear as he explains how films are made, how they work, how they go wrong and how they can be saved. His experience on APOCALYPSE NOW - both originally and more recently when the film was completely re-cut - and his work with Anthony Minghella on THE ENGLISH PATIENT provide illuminating highlights.

A Companion to Michael Haneke is a definitive collection of newly-commissioned work that covers Haneke's body of work in its entirety, catering to students and scholars of Haneke at a time when interest in the director and his work is soaring. * Introduces one of the most important directors to have emerged on the global cinema scene in the past fifteen years * Includes exclusive interviews with Michael Haneke, including an interview discussion of The White Ribbon * Considers themes, topics, and subjects that have formed the nucleus of the director's life's work: the fate of European cinema, Haneke in Hollywood, pornography, alienation, citizenship, colonialism, and the gaze of surveillance * Features critical examinations of La Pianiste, Time of the Wolf, Three Paths to the Lake and Cache, amongst others

Henry James and Alfred Hitchcock knew too much. Self-imposed exiles fully in the know, they approached American and European society as inside-outsiders, a position that afforded them a kind of double vision. Masters of their arts, manipulators of their audiences, prescient and pathbreaking in their techniques, these demanding and meticulous artists fiercely defended authorial and directorial control. Their fictions and films are obsessed with knowledge and its powers: who knows what? What is there to know?
The Men Who Knew Too Much innovatively pairs these two greats, showing them to be at once classic and contemporary. Over a dozen major scholars and critics take up works by James and Hitchcock, in paired sets, to explore the often surprising ways that reading James helps us watch Hitchcock and what watching Hitchcock tells us about reading James. A wide-range of approaches offer fresh insights about spectatorship, narrative structure, and cinematic representation, as well as the relationship between technology and art, the powers of silence, sensory-and sensational-experiences, the impact of cognition, and the uncertainty of interpretation. The essays explore the avowal and disavowal of familial bonds, as well as questions of Victorian convention, female agency, and male anxiety. And they fruitfully engage issues related to patriarchy, colonialism, national, transnational, and global identities. The capacious collection, with its brilliant insights and intellectual surprises, is equally compelling in its range and cogency for James readers and film theorists, for Hitchcock fans and James scholars.

One of the world's leading teachers of film presents letters to aspiring directors, producers, screenwriters, and other creatives. Suber emphasizes that what is required of a professional in the world of film is not just technique, but an understanding and ability to deal with the realities of how films get made.

Jeremiah Johnson, ""The Way We Were"", ""Absence of Malice"", ""Out of Africa"", ""Tootsie"", ""The Firm"", and, ""Searching for Bobby Fischer"" - Sydney Pollack has produced, directed or appeared in some of the biggest and most influential films of the last quarter century. His emergence in Hollywood coincided with those of such other innovative directors as John Frankenheimer, George Roy Hill and Sidney Lumet, and with them he helped develop a contemplative style of filmmaking that was almost European in its approach but retained its commercial viability.Film-by-film, this work examines the directorial career of Sydney Pollack. One finds that his style is marked by deliberate pacing, ambiguous endings and metaphorical love stories. Topically, Pollack's films reflect social, culture and political dilemmas that hold some fascination for him, with multidimensional characters in place that generally break the stereotypical molds of the situations. Pollack's directing efforts on television are also detailed, as are his production and acting credits.

From his cult classic television series Twin Peaks to his most recent film Inland Empire (2006), David Lynch is best known for his unorthodox narrative style. An award-winning director, producer, and writer, Lynch distorts and disrupts traditional storylines and offers viewers a surreal, often nightmarish perspective. His unique approach to filmmaking has made his work familiar to critics and audiences worldwide, and he earned Academy Award nominations for Best Director for The Elephant Man (1980), Blue Velvet (1986), and Mulholland Drive (2001). Lynch creates a new reality for both characters and audience by focusing on the individual and embracing existentialism. In The Philosophy of David Lynch, editors William J. Devlin and Shai Biderman have compiled an impressive list of contributors to explore the philosophy at the core of the filmmaker's work. Lynch is examined as a postmodern artist, and the themes of darkness, logic, and time are discussed in depth. Other prominent issues in Lynch's films, such as Bad faith and freedom, ethics, politics, and religion, are also considered. Investigating myriad aspects of Lynch's influential and innovative work, The Philosophy of David Lynch provides a fascinating look at the philosophical underpinnings of the famous cult director.

The Films of Lenny Abrahamson: A Filmmaking of Philosophys of provides a comprehensive study of the films of contemporary, highly critically-appraised Irish director Lenny Abrahamson. As well as considering the aesthetics, cultural reflections and philosophical concerns in the better known work of this dynamic and profoundly original Irish filmmaker, it also looks at his short film - 3 Joes - and his little-seen student film Mendel. As the first sustained study of Abrahamson's engaging and cinematically rich work, Barry Monahan's book sheds light on the aesthetic wealth of the artist and connects his stylistic innovations to the context of his projects' socio-cultural background, to his own influences in modern cinema - going beyond Irish film, to reflect upon the works of auteurs such as Bergman, Tarkovsky, Kubrick, and Kaurismaki among others - and to a broader reflection on what his canon has to contribute to the philosophy of cinema, art, and questions about human existence in the 21st century.

This text is the iconoclastic and controversial filmmaker Derek Jarman's candid journals from 1989 to 1990. The journals include Jarman's love of gardening and flowers while he was growing sicker from AIDS.

Reanimated offers a new perspective on twenty-first century American horror film remakes. Counter to the critical dismissal of genre remakes as derivative rip-offs, Mee approaches the films as intertextual adaptations which have both drawn from and helped to shape horror since 2000. Covering films from The Texas Chainsaw Massacre (2003) to Candyman (2021), and identifying distinct cycles, production strategies and patterns of reception, this book illustrates the importance of the remake to contemporary horror cinema and addresses key cultural, industry and reception contexts. Rather than representing the death of horror, Reanimated argues that remaking instead demonstrates the genre's capacity for creative recycling, adaptation and evolution.

On Sunset Boulevard, originally published in 1998, describes the life of acclaimed filmmaker Billy Wilder (1906-2002), director of such classicsas Sunset Boulevard, The Lost Weekend, The Seven Year Itch, and Sabrina. This definitive biography takes the reader on a fast-paced journey fromBilly Wilder's birth outside of Krakow in 1906 to Vienna, where he grew up, to Berlin, where he moved as a young man while establishing himself as a journalist and screenwriter, and triumphantly to Hollywood, where he became as successful a director as there ever was. Double Indemnity, Sunset Boulevard, Some Like It Hot, and The Apartment-Wilder's cinematic legacy is unparalleled. Not only did he direct these classics and twenty-one other films, he co-wrote all of his own screenplays. Volatile, cynical, hilarious, and driven, Wilder arrived in Hollywood an all-but-penniless refugee who spoke no English. Ten years later he was calling hisown shots, and he stayed on top of the game for the next three decades. Wilder battled with Humphrey Bogart, Marilyn Monroe, Bing Crosby, and Peter Sellers; kept close friendships with William Holden, Audrey Hepburn, Jack Lemmon, and Walter Matthau; amassed a personal fortune by way of blockbuster films and shrewd investments in art (including Picassos, Klees, and Miros); and won Oscars-yet Wilder, ever conscious of his thick accent, always felt the sting of being an outsider. On Sunset Boulevard traces the course of a turbulent but fabulous life, both behind the scenes and on the scene, from Viennese cafes and Berlin dance halls in the twenties to the Hollywood soundstages of the forties and the on-location shoots of the fifties and sixties. Crammed with Wilder's own caustic wit, On Sunset Boulevard reels out the story of one of cinema's most brilliant and prolific talents.

A Times Literary Supplement Book of the Year, chosen by Tom Stoppard "A revelation."-Marc Weingarten, Washington Post Acclaimed film director Billy Wilder's early writings-brilliantly translated into English for the first time Before Billy Wilder became the screenwriter and director of iconic films like Sunset Boulevard and Some Like It Hot, he worked as a freelance reporter, first in Vienna and then in Weimar Berlin. Billy Wilder on Assignment brings together more than fifty articles, translated into English for the first time, that Wilder (then known as "Billie") published in magazines and newspapers between September 1925 and November 1930. From a humorous account of Wilder's stint as a hired dancing companion in a posh Berlin hotel and his dispatches from the international film scene, to his astute profiles of writers, performers, and political figures, the collection offers fresh insights into the creative mind of one of Hollywood's most revered writer-directors. Wilder's early writings-a heady mix of cultural essays, interviews, and reviews-contain the same sparkling wit and intelligence as his later Hollywood screenplays, while also casting light into the dark corners of Vienna and Berlin between the wars. Wilder covered everything: big-city sensations, jazz performances, film and theater openings, dance, photography, and all manner of mass entertainment. And he wrote about the most colorful figures of the day, including Charlie Chaplin, Cornelius Vanderbilt, the Prince of Wales, actor Adolphe Menjou, director Erich von Stroheim, and the Tiller Girls dance troupe. Film historian Noah Isenberg's introduction and commentary place Wilder's pieces-brilliantly translated by Shelley Frisch-in historical and biographical context, and rare photos capture Wilder and his circle during these formative years. Filled with rich reportage and personal musings, Billy Wilder on Assignment showcases the burgeoning voice of a young journalist who would go on to become a great auteur.

Nicolas Roeg is one of the most distinctive and influential film-makers of his generation. The generation of film-makers who define contemporary movie-making - Danny Boyle, Kevin Macdonald (The Last King of Scotland), Christopher Nolan (The Dark Knight), James Marsh (Man on Wire), and Guillermo Del Toro (Pan's Labyrinth), all acknowledge their debt to the work of Nicolas Roeg. Roeg began as a cameraman, working for such masters as Francois Truffaut and David Lean. His explosive debut as a director with Performance, established an approach to film-making that was unconventional and ever-changing, creating works such as Don't Look Now, The Man Who Fell to Earth, Bad Timing, Insignificance, and, more recently, Puffball. Having now reached eighty years of age, Roeg has decided to pass on to the next generations, the wealth of wisdom and experience he has garnered over fifty years of film-making.

Phil Brown, who played Luke Skywalker's uncle in Star Wars, said, In my long life in films, there are ones I'm proud of and those I'm not proud of. The Jungle Captive and Weird Woman fall into the latter category. House of Wax co-star Paul Picerni was fired by the film's director when he refused to put his head in a working guillotine during a climactic fight scene. Packed with wonderful tidbits, this volume collects 22 interviews with the moviemakers responsible for bringing such films as This Island Earth, The Haunting, Carnival of Souls, Pit and the Pendulum, House of Wax, Tarzan the Ape Man, The Black Cat, Them! and Invasion of the Body Snatchers to the movie screen. Faith Domergue, Michael Forest, Anne Helm, Candace Hilligoss, Suzanna Leigh, Norman Lloyd, Maureen O'Sullivan, Shirley Ulmer, Dana Wynter and many more are interviewed.

Largely forgotten during the last 20 years of his life, the Soviet filmmaker Dziga Vertov (1896-1954) has occupied a singular and often controversial position over the past sixty years as a founding figure of documentary, avant-garde, and political-propaganda film practice. Creator of Man with a Movie Camera" (1929), perhaps the most celebrated non-fiction film ever made, Vertov is equally renowned as the most militant opponent of the canons of mainstream filmmaking in the history of cinema. This book, the first in a three-volume study, addresses Vertov's youth in the largely Jewish city of Bialystok, his education in Petrograd, his formative years of involvement in filmmaking, his experiences during the Russian Civil War, and his interests in music, poetry and technology.

The films of the late French filmmaker Robert Bresson, once thought formidable both because of the somberness of their subject matter and the austerity of the filmmaker's style, have in the last decade found a new audience. In part, this is owing to the rarely acknowledged but profound influence his style has had on later filmmakers-from Chantal Akerman to Michael Haeneke. This book looks at Bresson's body of work not only by coming to terms with its thematic preoccupations and the development of its unique authorial style, but also in terms of the ouvre's seminal place in the history of film. The filmic rhetoric that Bresson pursued was nothing less than an effort to create an exemplary form of film narrative, throwing off the conventions of the theater and acting that still dominate mainstream filmmaking. In this respect, Bresson's films are no less ground-breaking than those of D.W. Griffith and Sergei Eisenstein. In addition, while few who have written about Bresson would deny the highly personal and idiosyncratic nature of his work, its autobiographical dimension has never been fully explored. This constitutes a rich vein for investigation and the films-in both their subject matter and style-mirror and trace the aesthetic and psychological dispositions of the filmmaker. What one discovers in these explorations is a deeper relationship between the filmmaker and his literary models-especially the novelists Georges Bernanos and Fyodor Dostoevsky. With both, he also shares convictions about the "fallennature of humanity, an attitude of mourning for the loss of childhood innocence, a strong preoccupation with Christian theology, and the role evil and sexuality play in our lives. In this book Bresson's sources, style, and biography are explored via a chronological investigation of his films, yielding a dense analysis worthy of this master filmmaker.

The dead walk. Putrid corpses claw their way out of earthy graves and stumble towards civilisation. They are bloody, rotting, and hungry for human flesh - and it's all George Romero's fault. With 1968's Night of the Living Dead Romero unleashed the modern zombie onto cinemas, annihilating their voodoo roots and resurrecting them as passed away friends and dead loved ones. Its sequel, the zombies in a mall masterpiece Dawn of the Dead, took Romero's apocalyptic nightmare further. Its frank depiction of bloodshed changed horror cinema forever and paved the way for such recent offerings as Shaun of the Dead and 28 Days Later. But there is more to Romero than just the living dead. He reinvented the vampire in Martin, took on the American military in The Crazies and has collaborated with horror legend Stephen King on both Creepshow and The Dark Half. Even today films like Land of the Dead have proven Romero to be a fearless anti-establishment filmmaker. He's a maverick, a man who frequently directs outside of the Hollywood mainstream, allowing his films to work as both chilling frightfests and impassioned comments on the American psyche. This Pocket Essential examines Romero's work up to and including his latest Diary of the Dead and explains why filmmakers Quentin Tarantino and Martin Scorsese often refer to him as horror's greatest living director.

In this risk-taking book, a major feminist philosopher engages the work of the actor and director who has progressed from being the stereotypical "man's man" to pushing the boundaries of the very genres-the Western, the police thriller, the war or boxing movie-most associated with American masculinity. Cornell's highly appreciative encounter with the films directed by Clint Eastwood revolve around the questions "What is it to be a good man?" and "What is it to be, not just an ethical person, but specifically an ethical man?" Focusing on Eastwood as a director rather than as an actor or cultural icon, she studies Eastwood in relation to major philosophical and ethical themes that have been articulated in her own life's work. In her fresh and revealing readings of the films, Cornell takes up pressing issues of masculinity as it is caught up in the very definition of ideas of revenge, violence, moral repair, and justice. Eastwood grapples with this involvement of masculinity in and through many of the great symbols of American life, including cowboys, boxing, police dramas, and ultimately war-perhaps the single greatest symbol of what it means (or is supposed to mean) to be a man. Cornell discusses films from across Eastwood's career, from his directorial debut with Play Misty for Me to Million Dollar Baby. Cornell's book is not a traditional book of film criticism or a cinematographic biography. Rather, it is a work of social commentary and ethical philosophy. In a world in which we seem to be losing our grip on shared symbols, along with community itself, Eastwood's films work with the fragmented symbols that remain to us in order to engage masculinity with the most profound moral and ethical issues facing us today.

David Lynch is internationally renowned as a filmmaker, but it is less known that he began his creative life as a visual artist and has maintained a devoted studio practice, developing an extensive body of painting, prints, photography, and drawing. Featuring work from all periods of Lynch's career, this book documents Lynch's first major museum exhibition in the United States, bringing together works held in American and European collections and from the artist's studio. Much like his movies, many of Lynch's artworks revolve around suggestions of violence, dark humor, and mystery, conveying an air of the uncanny. This is often conveyed through the addition of text, wildly distorted forms, and disturbances in the paint fields that surround or envelop his figures. While a few relate to his film projects, most are independent works of art that reveal a parallel trajectory. Organized in close collaboration with the artist, David Lynch: The Unified Field brings together ninety-five paintings, drawings, and prints from 1965 to the present, often unified by the recurring motif of the home as a site of violence, memories, and passion. Other works explore the odd, tender, and mincing aspects of relationships. Highlighting many works that have rarely been seen in public, including early work from his critical years in Philadelphia (1965 70), this catalog offers a substantial response to dealer Leo Castelli's comment when he enthusiastically viewed Lynch's work in 1987, I would like to know how he got to this point; he cannot be born out of the head of Zeus." Published in association with the Pennsylvania Academy of the Fine Arts.

Fifty Contemporary Film Directors examines the work of some of today 's most popular and influential cinematic figures. It provides an accessible overview of each director 's contribution to cinema, incorporating a discussion of their career, major works and impact. Revised throughout and with twelve new entries, this second edition is an up-to-date introduction to some of the most prominent film makers of the present day. The directors, from differing backgrounds and working across a range of genres, include:

• Martin Scorsese
• Steven Spielberg
• Sofia Coppola
• Julie Dash
• Shane Meadow
• Michael Moore
• Peter Jackson
• Guillermo Del Toro
• Tim Burton
• Jackie Chan
• Ang Lee
• Pedro Almod var.

With further reading and a filmography accompanying each entry, this comprehensive guide is indispensable to all those studying contemporary film and will appeal to anyone interested in the key individuals behind modern cinema 's greatest achievements.